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Orange Goblin with Debris Inc., Lamont and Blacklight Barbarian
Thursday · Top Cat's
Do bands like getting dubbed "Stoner Rock"? For a group like Britain Heavy Rock greats Orange Goblin, who spend an ungodly amount of time touring Europe and the States, it would seem like the tag would cause some problems (Border patrol cop: "You're a band? What kind of music do you play?" OG: "Ummm, Stoner Rock?" Cop: "All right, pull over right there for your complimentary anal cavity searches"). Indeed, despite often being lumped in with the sludgy, impossibly heavy artists who have created a fascinating, tight-knit and fervently loyal Metal sub-culture, OG seems to avoid overt references to the weedy labeling in their bio materials and on their Web site. But OG's music also helps the group dart away from THC-laced characterizations. From album to album, OG never seems weary of altering their sonic template. Their 1997 debut long-player, Frequencies From Planet Ten, entranced the Heavy Rock underground with its spacey, spontaneous and expansive tactics, but their gradual jump to relatively faster material, culminating with 2002's Punk/Metal hybrid, Coup De Grace, left some critics and fans scratching their billy-goat beards and wondering if the band was suffering from some sort of identity crisis. The group's brand new album, Thieving from the House of God, offers perspective on the band's interesting evolution, encompassing the full breadth of the band's influences and experimentation (something no doubt honed through years on the road).
With close-to-the-bone production courtesy of Billy Anderson (Cathedral, The Melvins), Thieving revels in the band's multiplicity instead of trying to be just one thing. In OG's dynamic, you'll hear a little Blues and Skynyrdian Rock, but more readily you'll notice the traces of legendarily heavy bands from Trouble and Slayer to Sabbath and Motörhead, putting OG in the fine tradition of the British Heavy Metal movement. Crafty guitarist Joe Hoare sounds equally at home rattling off revved-engine riffs as he does down in the mud of the more sprawling tracks, while singer Ben Ward emotes with such raw force he should have someone check his throat for calluses. OG's vigorous, combustible sound is tonic for fans of fearless, timeless Power Rawk, no matter what their drug of choice might be. Also on the bill: Debris Inc., featuring singer Dave Chandler from heavy legends St. Vitus and Ron Holzner of Trouble. (Mike Breen)
Tim Easton with Rosavelt, Ric Hickey and Great Depression
Thursday · The Cavern
Over the past decade, Akron, Ohio, native Tim Easton has become a world-class musical citizen. After college (Ohio State), Easton busked his way around Europe before returning to Columbus to accept an invitation to join the Haynes Boys. Easton's songs and presence added a Neil Young/Gram Parsons lilt to the proceedings. The Haynes Boys' 1996 eponymous debut was well received, but the acclaim wasn't enough to contain Easton's ambitions. Easton struck out on his own, recording and self-releasing his first solo album, the fabulous Special 20, in 1998. The following year, Easton pulled up stakes to head for Los Angeles. His appearances at L.A. singer/songwriter haunts exposed Easton to an incredible network of musical peers, resulting in a recording contract from New West Records and all-star casts showing up on his subsequent solo albums — 2001's The Truth About Us found Wilco members Jay Bennett, John Stirratt and Ken Coomer standing in as Easton's band, and 2003's Break Your Mother's Heart was a virtual roll call of L.A.'s greatest sessioners, including Heartbreakers guitarist Mike Campbell, keyboardist Jai Winding, noted pedal steeler Greg Leisz and drum legend Jim Keltner. Easton's brilliantly evocative story songs have outshone the amazing musical talents enlisted to bring them to life. New West recently re-released Easton's first solo album so the rest of the world can hear proof of what we've known here in Ohio for quite some time now: Tim Easton is well on his way to becoming a musical legend in his own right. (Brian Baker)
Jettison Red
Saturday · Lava Lounge
Detroit Rockers Jettison Red are well worth seeing for their incredible drummer, Nicky Styxx, alone. She's probably weary of all the Keith Moon comparisons by now, but I'll add one more for the readers out there who have yet to be introduced to the force of her talent: With the charisma and skill of her band mates (Chris Wujek, John Krebs and Paul Barning), you'll feel guilty that their show this Saturday at Lava doesn't cost more. The Motor City band already has a growing Queen City fan base, through memorable performances at Popopolis 2003, this spring's Leap Year show at the Southgate House and both the 2002 and 2003 MidPoint Music Festivals. They're back in Cincinnati this weekend to celebrate the release of their sophomore effort, Travel by Telephone (Static Records), during the monthly dance party and live music showcase, "Girls & Boys." Telephone contains familiar favorites like "5:20" and "I Don't Need" as well as plenty of new Power Pop/Indie Rock favorites-in-waiting. The final track, "Free," is hands-down my favorite tune on the disc — it hearkens back to the some of the great fist-pumping Rock anthems of the '60s and '70s and makes you wanna yell "Detroit Rock City!" at the top of your lungs. With a driving beat and a killer hook, it illustrates the always-impressive guitar work of Wujek, as well as the talents of Styxx, and makes the listener more than eager to see it performed live. This Saturday is your chance, Cincinnati. Don't miss it! (Ericka McIntyre)
Alabama Thunderpussy with Rwake and Blacklight Barbarian
Tuesday · Top Cat's
What would you get if you took straight-ahead Southern Rock, sleazed it up with some greasy Blues, downtuned it to create a sound heavier than Marlon Brando on Jupiter and then shot about a bazillion volts into its frontal lobes and some Marshall stacks simultaneously? Molly Clutchett? Lynyrd Slipknot? No, you'd get Alabama Thunderpussy, the quintet from Richmond, Va., that's been redefining the idea of Southern Rock since its formation in 1996. ATP has accomplished a great deal in its eight-year history — a handful of EPs and five acclaimed full-length albums including the just released Fulton Hill — but it's been a tumultuous ride for the band, which has survived a revolving membership and the dissolution of their first record label. The last lineup shift was potentially the most devastating, as original vocalist Johnny Throckmorton took his leave from the band last year just as the band was rehearsing new material. After an exhaustive search, Columbus, Ohio, native Johnny Weils, formerly with Barbed Wire Dolls, was drafted as the shredding vocal presence of ATP, and work began anew on Fulton Hill, their second album for Relapse Records. Although Fulton Hill is every bit as thunderous in spots as its predecessors, ATP is clearly working in some interesting melodic counterpoints to balance the unrelenting, bone-crushing volume of their heavier moments. Whatever comes next, the rapturously dense Alabama Thunderpussy is clearly able to adapt to the change and make it work to their advantage. (BB)
